Anthony, half figures. Cades here took for his model the picture of Titian in the Quirinal, which he imitated as well in the composition as in the colour. And in this, indeed, he proceeded too far, giving it that obscure tone which the works of Titian have acquired only by the lapse of time. Cades here defended himself by saying that this piece was intended to be placed in the church of S. Francesco di Fabriano in a very strong light, where if the colours had not been kept low, they would have been displeasing to the spectator. There is an error in the perspective which cannot be overlooked. The allegorical figure of P. M. Innocenzio, who stands amazed at the sudden phenomenon, appears to be out of equilibrium, and would fall in real life. Other faults of colour, of costume, or of vulgarity of form, are noticed in others of his pictures by the author of the _Memorie_, in tom. i. and iii. But as he advanced in life he improved his style from study, and attending to the criticisms of the public. In tom. iii. just referred to, we find the description of one of his works executed for the Villa Pinciana, the subject of which is taken from Boccaccio; Walter Conte di Anguersa recognized in London. Let us weigh the opinion which this eminent author gives of this most beautiful composition, or let us compare it with the picture of S. Joseph of Copertino, which he painted at twenty-one years of age, as an altarpiece in the church of the Apostles, and we shall perceive the rapid strides which are made by genius. Other princely families, besides the Borghesi, availed themselves of his talents to ornament their palaces and villas; as the Ruspoli and the Chigi, and he executed several works for the empress of Russia. He died before he had attained his fiftieth year, and not long after he had so much improved his style. In the opinion of some, his execution still required to be rendered more uniform, since he sometimes displayed as many different manners in a picture, as there were figures. But in that he might plead the example of Caracci, as we shall notice on a proper opportunity. We shall now pass to other branches of the art, and shall commence with landscapes. In this period flourished the scholars of the three famous landscape painters, described in their proper place, besides Grimaldi, mentioned in the Bolognese School, who resided a considerable time in Rome; and Paolo Anesi, of whom we made mention in speaking of Zuccherelli. With Anesi lived Andrea Lucatelli, a Roman, whose talents are highly celebrated in every inferior branch of the art. In the archbishop's gallery in Milan are a number of his pictures, historical, architectural, and landscapes. In these he often appears original in composition, and in the disposition of the masses; he is varied in his touch, delicate in his colouring, and elegant in his figures, which, as we shall see, he was also accustomed to paint in the Flemish style, separate from his landscapes.